Library of Birmingham, Centenary Square, Broad St, Birmingham, West Midlands B1 2ND

Bettina von Zwehl and Sophy Rickett: Album 31

Album 31 exhibition at the Library of Birmingham

The latest exhibition at the Library of Birmingham epitomises the idea of a photograph that is a trace of reality and, most importantly, an encounter with the unreal. Review by Dominika Mackiewicz

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Marian Goodman Gallery, 5-8 Lower John Street, London W1F 9DY

Gabriel Orozco

Installation view, Marian Goodman Gallery

William Cooper reviews the 'internationally' made works of Gabriel Orozco. He finds that in refusing to stick with one traditional medium, Orozco immerses himself in a place and creates objects that discuss, reflect upon and communicate these cultures' ideas.

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Grand Union, Minerva Works, 158 Fazeley St, Birmingham B5 5RS

Fay Nicolson: SUCCEED IN LIFE

Image 1

A play on surface and representation. Folds of fabric rendered in tapestry. A double weave. Allegory in an architectural frame. At the bottom of the tapestry real flowers mark the outside space of the forest. On the wall of the inside space hangs a floral tapestry. Double nature, twice removed. The object (re)presenting itself. A text by Fay Nicolson drawing on her time spent in Grand Union, Birmingham, for her solo exhibition OVER AND OVER PURE FORM.

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The Foundry, Rue de la Fonderie, 65700 Maubourguet, Midi-Pyrenees, France

The Copenhagen Declaration

The Copenhagen Declaration, Installation View

The London based organisation a/political opened The Foundry on the 13th June with ‘The Copenhagen Declaration' - a collaboration by Jens Haaning and Santiago Sierra.

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Cell Project Space, 258 Cambridge Heath Road, London E2 9DA

m-Health

Daniel Keller, Onanet Spiruline 2, living spirulina algae, aqueous nutrient solution, nano cube glass aquariums, power plugs, heaters, air compressors, LED air stones, pumps, tubing, dimensions variable

‘m-Health’ is a six day project at Cell Project Space which seeks to transform an ordinary gallery into an environment for leisure and relaxation. Review by Hatty Nestor

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Museum of Bath at Work, Julian Road, Bath BA1 2RH

Julie McCalden: Working from Home

Julie McCalden, Working from Home, Installation view

Amid the steel and soot, grease and cogs, belts and tools of the factory, haunts an alien presence. It’s a surreal stage set in the heart of the museum, reconstructing the interior of a working class household in the early twentieth century. Review by Rowan Lear

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Castlefield Gallery, 2 Hewitt St, Manchester M15 4GB

Real Painting

Foreground: Simon Callery Wiltshire, Modulor ii, 2010, Background: Adriano Costa, Piece, 2014

This is an exhibition of paintings that exist on their own terms, for their own sake, works that provide a physical presence and don’t just passively sit on a wall to be admired. Review by Tom Emery

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Tenderpixel, 8 Cecil Court, London WC2N 4HE

The Infinite Lawn

The Infinite Lawn. Installation View.

'The Infinite Lawn' navigates the ambiguous object of labour via material margins, centralising marginality. James Gormley reviews

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Picnic Picnic, 155 John Street, Sheffield S2 4QX

Tuff Crowd

Tuff Crowd, installation view, 2015

Taking its inspiration from the punch-lines and pitfalls of creating entertaining and amusing work, 'Tuff Crowd' invites artists whose practice absorbs and highlights the humour in the act of being an artist, asking the audience to broaden their understanding of what conceptual art can be. Review by Lindsey Mendick

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Berloni Gallery, 63 Margaret Street, London W1W 8SW

Ben Woodeson: Obstacle

I love you, I want you, I need you... (Hot for Carl), 2015

Woodeson’s modernism is more hot than cool. Despite employing techniques of repetition and reduction, the work has a striking emotional impact. Not only do we become aware of the materiality of the objects in the space, but of our own flesh. Review by Philomena Epps

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Gagosian Gallery, 6-24 Britannia Street London WC1X 9JD

Sprayed

John Chamberlain, Anteambulo Quincunx, 1992

The mixing of contemporary and older works allows for formal cues to take precedent over historical context. These juxtapositions allow for new comparisons to be made. What do Warhol and Latham hold in common? What does Kapoor’s piece suggest about the current status of the medium? Review by Katherine Jackson

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